Learn how the new movement toward reanimating camera movement, stabilizing, and reframing shots in post is taking shape! Chad Peter and Tai Logsdon have been on the forefront of this change and will discuss how it all began and how it’s being done today, with lots of details and examples from Mind Hunter, Bird Man, Homecoming & Mr. Robot.
Writer / Director (DGA) / VFX Supervisor originally from Colorado – Chad Peter has worked as VFX supervisor & additional director (inserts) on the final season of “Mr. Robot”, as well as VFX Super on Amazon’s “Homecoming” season 1. Previously, Chad had served as an in-house VFX on “Mindhunter” s1 & s2, “House of Cards” s2 thru s4, “Gone Girl” and more.
Tai Logsdon grew up in the Central Valley of California, graduated from Chapman University in 2006, and has worked as in-House VFX Manager for shows such as Amazon’s “Homecoming” and USA’s “Mr.Robot” (the final season).
The cinematographer of David Fincher’s hit Netflix series, Mindhunter, Erik Messerschmidt ASC takes us behind the scenes the show.
Erik and Go Creative Show host, Ben Consoli, discuss how he created the distinct look of Mindhunter, why David Fincher shoots so many takes, mastering good camera movement, how Erik preps for shoots, and more!
What you will learn in this episode:
Importance of film school and on-set experience (02:22)
What Erik is watching during COVID-19 (12:08)
Visual approach to MINDHUNTER (15:48)
Mastering good camera movement (20:08)
Camera and lens package (22:22)
Why David Fincher shoots so many takes (27:28)
Compositing multiple takes together (42:05)
Approach to lighting (44:57)
Shot diagrams and storyboarding (54:18)
Lighting the prison scenes (01:01:59)
Exposing for dark cinematography (01:04:25)
Color theory and how it affects the audience (01:05:21)
Mike Bauman & Paul Royalty April 24, 2020 LiteGear
Welcome to LiteGear Live, our community outreach portal where we host panel discussions, educate, and discuss all things related to Set Lighting. Join us for weekly conversations with Cinematographers, Gaffers, Rigging Gaffers, Fixtures Technicians, Programmers, and many more. We’ll be sharing behind-the-scenes photographs, production stills, and clips, all while chatting in real-time with the filmmakers who made it happen.
Our second edition of LiteGear Live presents a conversation with Cinematographer Erik Messerschmidt, Chief Lighting Technician Danny Gonzalez, and Rigging Gaffer Bobby Dechellis, discussing their most recent work on the popular Netflix series Mindhunter.
Hosted by Co-Founder of LiteGear Mike Bauman and Vice President of Sales at LiteGear, Paul Royalty, they delve into a wide range of questions for each guest intended to dig deep into the style choices and challenges faced on the show. The group also shares some behind-the-scenes photographs, production stills, and clips from Mindhunter.
Watch Mindhunter exclusively on Netflix.
Thank you to Netflix for allowing the use of Mindhunter stills and clips.
I was late in discovering David Fincher’s gripping series on serial killers, Mindhunter. But last summer, I noticed the Netflix original lurking in my suggested titles and decided to give it a whirl. I burned through both seasons within a week. The show is both thrilling and chilling, but the majority of these moments are not achieved through blazing guns, jump scares and pyrotechnics. It instead focuses on the inner lives of multiple murderers and the FBI agents whose job it is to understand them through subtle but detail-rich conversation.
Sound plays a crucial role in setting the tone of the series and heightening tension through each narrative arc. I recently spoke to rerecording mixersScott Lewis and Stephen Urata as well as supervising sound editorJeremy Molod — all from Skywalker Sound — about their process creating a haunting and detail-laden soundtrack. Let’s start with Lewis and Urata and then work our way to Molod.
Scott Lewis, Stephen Urata, and Jeremy Molod
How is working with David Fincher? Does he have any directorial preferences when it comes to sound? I know he’s been big on loud backgrounds in crowded spaces since The Social Network.
Scott Lewis: David is extremely detail-oriented and knowledgeable about sound. So he would give us very indepth notes about the mix… down to the decibel.
Stephen Urata: That level of attention to detail is one of the more challenging parts of working on a show like Mindhunter.
Working with a director who is so involved in the audio, does that limit your freedom at all?
Lewis: No. It doesn’t curtail your freedom, because when a director has a really clear vision, it’s more about crafting the track to be what he’s looking for. Ultimately, it’s the director’s show, and he has a way of bringing the best work out of people. I’m sure you heard about how he does hundreds of takes with actors to get many options. He takes a similar approach with sound in that we might give him multiple options for a certain scene or give him many different flavors of something to choose from. And he’ll push us to deliver the goods. For example, you might deliver a technically perfect mix but he’ll dig in until it’s exactly what he wants it to be.
Urata: Exactly. It’s not that he’s curtailing or handcuffing us from doing something creative. This project has been one of my favorites because it was just the editorial team and sound design, and then it would come to the mix stage. That’s where it would be just Scott and me in a mix room just the two of us and we’d get a shot at our own aesthetic and our own choice. It was really a lot of fun trying to nail down what our favorite version of the mix would be, and David really gave us that opportunity. If he wanted something else he would have just said, “I want it like this and only do it like this.”
But at the same time, we would do something maybe completely different than he was expecting, and if he liked it, he would say, “I wasn’t thinking that, but if you’re going to go that direction, try this also.” So he wasn’t handcuffing us, he was pushing us.
“I was fortunate enough to meet David Fincher on Panic Room in 2001 when I was working as a sound editor and the relationship I developed with him and his No. 13 production company has carried through until today with Mindhunter. He’s someone I can bounce ideas off and he’s constantly challenging us. For the second season of Mindhunter he asked to design a real-time telestration solution that would enable him to communicate the thoughts and ideas he came up with during production via annotations attached to the image captured by the camera. We came up with PIX RT it immediately creates clips of the take and presents this clip to the director and certain other approved crew members via a tablet, so he or she can make annotations and notes on the image. This media, metadata and the notes are then securely synchronized with the PIX cloud to all the approved members of the production who can review them. And of course, it is completely secure and integrated with all of our other services. And now we’re working with the CODEX team on the next evolution of these tools.”
“Sometimes it takes working with the most demanding and yet most exceptionally talented people to push you to design the best products. That’s certainly the case with cinematographers like Bob Richardson and Emmanuel “Chivo” Lubezki. On Gravity we worked with Chivo and his crew along with our services company to design an efficient, color critical, ARRIRAW workflow that would support this complex, multi-camera shoot which involved “The Cage”. The Cage was a lightbox consisting of 196 2’x2′ LED panels which simulated the light coming from stars and the sun and reflected light from Earth, but could also project images of Earth, distant stars, or, images of Sandra Bullock‘s child character, as the actor was suspended within. It was ground-breaking. And funnily enough, I recall that Chivo talked to David Fincher before the shoot and he thought that it was a couple of years too early to pull it off. Projects like Gravity inspire us to push the boundaries of what is possible.”
Read the full interview (part one) on the X2X magazine app (App Store & Google Play). You’ll find interviews and Q&A’s with some of the world’s leading DITs, directors, and cinematographers. Best of all, it’s free!
Erik Messerschmidt, ASC had a childhood dream of becoming a cinematographer, which he began pursuing at Emerson College, where he studied film production. While in school, he hit the ground running, working on film sets as an electrician, which then led to work as a gaffer in features, television and commercials. Before he graduated, he was able to join the IATSE Local 481 in Boston. During this time, he also served as a lighting technician and lighting director for many well-known photographers, including Gregory Crewdson, Mike and Doug Starn and Larry Sulton.
Following graduation, Messerschmidt relocated to Los Angeles to further his career in the industry. Shortly thereafter, he met Mark Doering-Powell, ASC and Mark Weingartner, ASC, who served as early mentors. Doering-Powell hired Messerschmidt on several smaller feature projects as a grip and later gaffer, which allowed him to join Local 728 as a gaffer. He developed relationships with numerous ASC members, including Claudio Miranda, Jeff Cronenweth and Tami Reiker, who Messerschmidt calls his “closest mentors.”
Gordon Lonsdale, ASC hired Messerschmidt as his gaffer on the television series Bones, and the two worked together for six seasons. During this time, Messerschmidt also gained experience as a director of photography, shooting several commercials, short films and documentaries.
Erik Messerschmidt, ASC on the set of the Netflix series Mindhunter.
Cronenweth hired Messerschmidt as his gaffer on David Fincher’s Gone Girl, and subsequently encouraged the director to hire Messerschmidt to photograph his next project, the Netflix series Mindhunter. Since then, the cinematographer has shot the bulk of episodes on both seasons. (See story here.)
Messerschmidt has also photographed several episodes of the television series Legion as well as second-unit work on the feature Sicario: Day of the Soldado, shot by Dariusz Wolski, ASC. On the recommendation of Wolski, Messerschmidt was hired to photograph the HBO Max series Raised by Wolves.
His upcoming credits include Fincher’s latest feature, Mank, depicting the life of screenwriter Herman J. Mankiewicz and the writing of the script to Citizen Kane.
Actors, producers, models, and other artists share, encourage, and reveal their professional experiences, failures, accomplishments and authentic selves.
‘Mindhunter‘ still & behind-the-scenes photographer, Miles Crist, shares his incredible path from knowing the right person at the right time to winning the 8-month job of photographing BTS of ‘Mindhunter‘ for Netflix, jumping from Columbia to Art Center, the demanding surprises of the profession, his passion for films, learning from David Fincher, and working for him again this winter.